Description from 6581 Records website:
“The Limited Edition Double Vinyl (250 copies only) version of the original Reformation album by Matt Gray featuring remakes of classic C64 game music.
A selection of the best of the Reformation box set across 2 vinyl discs this is a limited edition of just 250 copies and should be highly collectable.
The Reformation series of releases are packed with some of the most memorable music from the 8 & 16 - bit era of video games, as well as some tracks that you may not be familiar with, but will soon become wedged in your mind, they are – as my GF colleague Lee says, ‘bangers’.
Presented in a double-disc vinyl set in a gatefold sleeve, the cover is sleek and minimalist, with the artist and title details at the top-left of the image, which is styled on the design of a floppy disk.
It’s striking and simple – letting the quality of the music speak for itself. With no information on the black spine, turning to the back reveals the track list information, only a handful of colours are used (red, black, white and grey) and that gives the overall aesthetic of the record a stoic and professional appeal.
Opening up the gatefold, however, is a different story - as Matt Gray’s signature is splashed across the double-page image, as myriad screenshots of the Commodore 64 games that make up the soundtrack pepper the background, like dozens of screens flashing out images of memories – memories soon to be relived on wax. The setup of this made me feel like it was the ‘80s title screen of a retro TV show that was all about video games, with Matt’s signature literally being a stamp of approval on them, almost proudly signing his work off. It’s a cool idea that feels like it’s saying ‘this is the gold that awaits you on this innocent, plain-looking floppy disk’, a highlight reel of one of the era’s best music makers.
The records themselves are held in plain white sleeves, with similar designs on the inner circles, which again list the artist and title, as well the typical track information. Let’s dive into the fifteen tracks that make up the album.
Side A:
Central Park Main Theme (From Last Ninja 2) – one of my favourite tracks from the Last Ninja 2 LP – and the first of three Last Ninja 2 tracks that appear on this release – it begins with an understated intro. Light percussion with an Eastern sensibility that lulls you into the build - a fuzzy, bass-driven riff that takes us into another loop-driven drum beat with melodies adding variety and character. Keep your ears out for some sneaky wah-work and some tasty, plucked guitar with a chorus effect just before the bass downscale. There’s so much going on beyond the superficially catchy beat that you will probably need a few re-listens to fully absorb everything that’s happening. Using this track to kick off the album instantly feels kinetic and catchy, yet there’s a depth below what initially catches your ear, a layering that is one of Matt Gray’s trademarks on the Reformation releases.
The Desert Main Theme (From Tusker) – An echoing, bubbling miasma of muted sound slowly builds here, clawing its way out of the depths with a twisted, marching percussive beat that Marilyn Manson clearly owes a fiver to. Fuzzing bass mixed in expertly with ringing notes plough onwards towards the true heart of the song which feels like it explodes into life, taking us from barrel-chested, stomping beats to a huge, expressive, and almost joyful centrepiece. There’s a moment where gothic synth notes come through to again alter the tone, but those driving drums and that pulsing bass are always at the spine of the song and fade out with added tom rhythms.
Bangkok Knights Loading Theme – A more esoteric opening here, as a wailing note crashes into the opening and closing of a hi-hat mixed with a dance snare/kick beat, I thought this would be a horror-inflected track before that energy comes sailing in, with some of my favourite keyboard lines on the album, the lead line here is absolutely glorious and rich as it wails over those sweaty drums. Soon there’s a moment of respite as a cascading, Eastern melody plays over violin before…yes… the muscular beat hurtles back in to play us out. It’s worth noting that all the songs so far are over the five-minute mark, meaning that you really get time to get hips deep into the grooves pumping out before you. It’s another touch that makes this album stand out a little, these are fully formed evolving songs that aren’t afraid to lock into a groove. Good.
Dominator Hidden Theme – Carrying on in the same vein as the previous track, there’s something about this that screams ‘shooter’. I can’t put my finger on if it’s the lightness of touch or stabbing synth that peppers the underlay of the track, but it just brings ‘shmups’ to mind. The track is based on a three-note alternating riff that -again - is pacey and seemingly genetically designed to make me move. I am a fan of the freestyle riffage that plays the song out to its sudden end, very cool stuff.
Side B:
Driller Main Theme – The heftiest track on the album, it’s tough to not look at this as a centrepiece. Beginning with swirling synth and some melodies that wouldn’t be out of place in an ‘80s horror score (good), this is an exploratory song that really has the space to cover some serious ground and feels operatic and progressive in how the music builds, almost like an audio narrative. Moving from that tense introduction, the drums come in with a pounding, demanding urgency that plays a simple and yet huge beat as the music subtly moves to a more sci-fi feel, you can imagine a POV camera swirling through deep space, touching again on that ‘shmup’ feel before again pulling back and morphing into a different beat – although thematically slow, quick, single note lines run through the track, keeping up that kinetic energy through the alternating moods. The centre of the song gets expansive, with layers of keening synth adding a deeply emotional core and sense of melancholy. There’s a real sadness to the notes chosen here until they are usurped by one of my favourite moments on the record, a driving, rising melodic line that battles against a descending riff that feels like it’s collapsing, it’s such a great chord change that makes the hairs on your neck stand up. Thanks to the length of the track (over ten minutes) you get to really dig into the heart of this one. The reverb-laden piano notes that gently roll across the top of this section again working on that Matt Gray trademark of layering melodies over each other that feel like they couldn’t be improved upon. This really is a hell of a track that feels like it takes you through decades and genres, expertly.
The Village Main Theme (From Tusker) – Back to a dancier beat – and from a game that I played a lot of back in the day (without fully understanding it, due to my young age at the time) – this is a high-octane track that has a great moment whereby the music opens up to a very ‘90s-style euphoric middle section, which is followed up by some big ole’ fuzzy bass notes before returning to those snapping drums, a great driving song that is still peppered with nuance and an ear for melody. The final sections of this song could very well be the introductory music to an action film from the turn of the millennium. Good.
Hunter’s Moon Loading Theme – If you thought that you’d have time to have a swig of your drink and get back on the dance floor, you do, but be quick! Distant rumbling notes and feedback briefly fill the speakers before the song settles into a mid-tempo, upbeat riff with those ever-present thick drums. There’s a really great, throaty riff overlaid with extra percussion in the centre of Hunter’s Moon Loading Theme that gets even moodier as it drops back to a three-note riff that soon gets drizzled in classic C64 riffage and effects, to great emotional impact. It’s another track that refuses to stay still, always evolving and bringing something new to the table, even as it circles back on itself to end on a version of the introduction. A feel-good number that hits the spot.
Side C:
Central Park Loading Theme (From Last Ninja 2) – Another track from one of the best games on the C64 – in terms of both gameplay AND music, kicking off with low, humming bass and plucked Eastern instrumentation with string bends, it’s not long before that C64 signature sound comes in with keys and a beautifully buzzy four-note bass riff is sliding over a building crescendo until yes….energetic drums come in with a dance-beat, over a down-scale synth riff. Just when you think it’s run out of tricks; a gorgeous keyboard melody comes soaring over the top. This is the opening track to the Last Ninja 2 vinyl I covered last year and hearing it here, it still hits me in the same way, a golden track that gives me goosebumps. There’s always something new to discover or a new layer/melody that grabs your ear, and very few people can push and pull the mood of the song quite like Matt Gray, all the while keeping a sense of cohesion throughout.
Hunter’s Moon Main Theme – Stomping, single-beat drums launch us into this one, like a giant marching into a colossal cave, as retro effects pepper the atmosphere. It’s always a treat when certain parts of the album – as in this track – get really ‘Commodore 64’ in their sound. A snare-driven march threatens to take us into more morose territory before the drums lift and a chirping melody plays off the milky spacy guitar. There’s a section towards the back end of the song when the drums are absolutely taking centre-stage through raw power, as various climbing and descending synths cascade around them, it’s a very evocative, stoic moment on the album.
Dominator Theme – Very much beginning as a follow-on from Hunter’s Moon Main Theme in terms of that more moody, textured sound – Dominator Theme teases us with an intro that allows you to almost feel the title screen. Woolly, fuzzy notes abound before kicking off into a really classic-sounding piece that is unmistakable Commodore 64 SID - complete with jaunty riffs, cascading, twinkling notes and possibly the simplest structure/beat on the entire record. It doesn’t diminish it, though - as there have been so many heavy hitters on the album that this more simplistic style is somehow even more nostalgic in how it evokes the system it was initially written for. I didn’t play Dominator, but this feels somehow familiar in how well it captures the era and vibe.
Professional BMX Simulator Main Themes – visceral percussion, a raw riff and some acrobatic lead lines lift off into some squelchy SID gold. It’s a fairly epic main melody, but those milky lead lines and bends make the track for me. Akin to tasteful wailing on a guitar, it’s moreish stuff! Prepare yourself for some great keyboard melodies as well, this is a punchy and addictive track that fits in perfectly after the Dominator Theme and is a ‘high-five’ way to end the third side of the album.
Side D:
Vendetta Intro Theme – This is a track that really sneaks up on you with how good it is. A somewhat restrained affair – at least, in terms of the drums, an instrument that Matt Gray seems to wield as weapons to pulverise your speakers - a more hi-hat-based rhythm and a shuffling beat replace the usually explosive percussion. Layered over this are synth lines that are almost pure cyberpunk in some moments. Huge, swelling sheets of sound and – to my ears – some of the best melodies on the album, in the synth and also ‘palm-muted guitar’ lines here as well as subtler percussion behind the drums. It’s all extremely understated but bleeds quality, and as the track progresses and opens up, it’s sheer gold, as far as I’m concerned – and one of the best on the album. You’ll be getting Amiga vibes here. I could easily have had this extended to an entire side of the record and not given a hoot.
Quedex Loading Theme – A return to the instancy of the template set down by Dominator Theme, this brings back the more upbeat sensibilities of the SID-chip. Pure ‘80s in how the melodies roll into each other, backed by tight, punchy bass. All of this combines to make the Quedex Loading Theme a feel-good ride!
Deliverance Stormlord 2 Title Theme - Big old bass notes and a ditty from outer space lead us in, I really dig the effects used here, they make the lead lines sing. The teasing introduction has the air of a ‘90s floor filler about it, with cymbal washes ahoy. A word of warning – if you turned up the volume to get the most out of the wonderful Vendetta Intro Theme – you might want to pop it back down a notch here, because - when the drums kick in, they. are. not. shy. Some really tasty, airy slide notes hammer the melodies home over a busy hi-hat/snare beat, a great follow-on from the Quedex Loading Theme.
The Street Loading Theme (From Last Ninja 2) - A favourite of mine, a pretty and melodic opening gives way to an even prettier section before a more emotive melody joins in (it’s tasty), and then, and only then - do the drums join in…drums that just make you want to shout, “YES!”. If you aren’t turkey-necking by this point, then you aren’t on my Christmas card list. The melodies hinted towards at the start of the track return in full form. A sampled Chinese flute comes in as the track mellows for a second – without losing any pace – before the drums get back to full tilt, again acting as the rumbling, tireless behemoth under the now-to-be-expected layers riffing over the top. It feels like this music is genetically designed to please me and lift my mood. The end of the track also features a lovely, rolling keyboard run.
Reformation is another quality collection of music from Matt Gray, the way in which the music has been re-recorded with modern technology, and without losing any of the character of the original tunes always gets me. My introduction to Matt Gray’s modern body of work was via the Last Ninja 2 vinyl, which was one of my albums of the year in 2021. Whilst arguably the best tracks from that release are featured here, the rest of the album shines just as brightly, whether it be through the cavernous drums, phat bass or just the absolute grasp of clarity and melody that runs through each track of reformation, there’s not a weak moment, and I really like how the tracks are lengthy and have room to breathe and evolve.
Opening up the gatefold, however, is a different story - as Matt Gray’s signature is splashed across the double-page image, as myriad screenshots of the Commodore 64 games that make up the soundtrack pepper the background, like dozens of screens flashing out images of memories – memories soon to be relived on wax. The setup of this made me feel like it was the ‘80s title screen of a retro TV show that was all about video games, with Matt’s signature literally being a stamp of approval on them, almost proudly signing his work off. It’s a cool idea that feels like it’s saying ‘this is the gold that awaits you on this innocent, plain-looking floppy disk’, a highlight reel of one of the era’s best music makers.
The records themselves are held in plain white sleeves, with similar designs on the inner circles, which again list the artist and title, as well the typical track information. Let’s dive into the fifteen tracks that make up the album.
Side A:
Central Park Main Theme (From Last Ninja 2) – one of my favourite tracks from the Last Ninja 2 LP – and the first of three Last Ninja 2 tracks that appear on this release – it begins with an understated intro. Light percussion with an Eastern sensibility that lulls you into the build - a fuzzy, bass-driven riff that takes us into another loop-driven drum beat with melodies adding variety and character. Keep your ears out for some sneaky wah-work and some tasty, plucked guitar with a chorus effect just before the bass downscale. There’s so much going on beyond the superficially catchy beat that you will probably need a few re-listens to fully absorb everything that’s happening. Using this track to kick off the album instantly feels kinetic and catchy, yet there’s a depth below what initially catches your ear, a layering that is one of Matt Gray’s trademarks on the Reformation releases.
The Desert Main Theme (From Tusker) – An echoing, bubbling miasma of muted sound slowly builds here, clawing its way out of the depths with a twisted, marching percussive beat that Marilyn Manson clearly owes a fiver to. Fuzzing bass mixed in expertly with ringing notes plough onwards towards the true heart of the song which feels like it explodes into life, taking us from barrel-chested, stomping beats to a huge, expressive, and almost joyful centrepiece. There’s a moment where gothic synth notes come through to again alter the tone, but those driving drums and that pulsing bass are always at the spine of the song and fade out with added tom rhythms.
Bangkok Knights Loading Theme – A more esoteric opening here, as a wailing note crashes into the opening and closing of a hi-hat mixed with a dance snare/kick beat, I thought this would be a horror-inflected track before that energy comes sailing in, with some of my favourite keyboard lines on the album, the lead line here is absolutely glorious and rich as it wails over those sweaty drums. Soon there’s a moment of respite as a cascading, Eastern melody plays over violin before…yes… the muscular beat hurtles back in to play us out. It’s worth noting that all the songs so far are over the five-minute mark, meaning that you really get time to get hips deep into the grooves pumping out before you. It’s another touch that makes this album stand out a little, these are fully formed evolving songs that aren’t afraid to lock into a groove. Good.
Dominator Hidden Theme – Carrying on in the same vein as the previous track, there’s something about this that screams ‘shooter’. I can’t put my finger on if it’s the lightness of touch or stabbing synth that peppers the underlay of the track, but it just brings ‘shmups’ to mind. The track is based on a three-note alternating riff that -again - is pacey and seemingly genetically designed to make me move. I am a fan of the freestyle riffage that plays the song out to its sudden end, very cool stuff.
Side B:
Driller Main Theme – The heftiest track on the album, it’s tough to not look at this as a centrepiece. Beginning with swirling synth and some melodies that wouldn’t be out of place in an ‘80s horror score (good), this is an exploratory song that really has the space to cover some serious ground and feels operatic and progressive in how the music builds, almost like an audio narrative. Moving from that tense introduction, the drums come in with a pounding, demanding urgency that plays a simple and yet huge beat as the music subtly moves to a more sci-fi feel, you can imagine a POV camera swirling through deep space, touching again on that ‘shmup’ feel before again pulling back and morphing into a different beat – although thematically slow, quick, single note lines run through the track, keeping up that kinetic energy through the alternating moods. The centre of the song gets expansive, with layers of keening synth adding a deeply emotional core and sense of melancholy. There’s a real sadness to the notes chosen here until they are usurped by one of my favourite moments on the record, a driving, rising melodic line that battles against a descending riff that feels like it’s collapsing, it’s such a great chord change that makes the hairs on your neck stand up. Thanks to the length of the track (over ten minutes) you get to really dig into the heart of this one. The reverb-laden piano notes that gently roll across the top of this section again working on that Matt Gray trademark of layering melodies over each other that feel like they couldn’t be improved upon. This really is a hell of a track that feels like it takes you through decades and genres, expertly.
The Village Main Theme (From Tusker) – Back to a dancier beat – and from a game that I played a lot of back in the day (without fully understanding it, due to my young age at the time) – this is a high-octane track that has a great moment whereby the music opens up to a very ‘90s-style euphoric middle section, which is followed up by some big ole’ fuzzy bass notes before returning to those snapping drums, a great driving song that is still peppered with nuance and an ear for melody. The final sections of this song could very well be the introductory music to an action film from the turn of the millennium. Good.
Hunter’s Moon Loading Theme – If you thought that you’d have time to have a swig of your drink and get back on the dance floor, you do, but be quick! Distant rumbling notes and feedback briefly fill the speakers before the song settles into a mid-tempo, upbeat riff with those ever-present thick drums. There’s a really great, throaty riff overlaid with extra percussion in the centre of Hunter’s Moon Loading Theme that gets even moodier as it drops back to a three-note riff that soon gets drizzled in classic C64 riffage and effects, to great emotional impact. It’s another track that refuses to stay still, always evolving and bringing something new to the table, even as it circles back on itself to end on a version of the introduction. A feel-good number that hits the spot.
Side C:
Central Park Loading Theme (From Last Ninja 2) – Another track from one of the best games on the C64 – in terms of both gameplay AND music, kicking off with low, humming bass and plucked Eastern instrumentation with string bends, it’s not long before that C64 signature sound comes in with keys and a beautifully buzzy four-note bass riff is sliding over a building crescendo until yes….energetic drums come in with a dance-beat, over a down-scale synth riff. Just when you think it’s run out of tricks; a gorgeous keyboard melody comes soaring over the top. This is the opening track to the Last Ninja 2 vinyl I covered last year and hearing it here, it still hits me in the same way, a golden track that gives me goosebumps. There’s always something new to discover or a new layer/melody that grabs your ear, and very few people can push and pull the mood of the song quite like Matt Gray, all the while keeping a sense of cohesion throughout.
Hunter’s Moon Main Theme – Stomping, single-beat drums launch us into this one, like a giant marching into a colossal cave, as retro effects pepper the atmosphere. It’s always a treat when certain parts of the album – as in this track – get really ‘Commodore 64’ in their sound. A snare-driven march threatens to take us into more morose territory before the drums lift and a chirping melody plays off the milky spacy guitar. There’s a section towards the back end of the song when the drums are absolutely taking centre-stage through raw power, as various climbing and descending synths cascade around them, it’s a very evocative, stoic moment on the album.
Dominator Theme – Very much beginning as a follow-on from Hunter’s Moon Main Theme in terms of that more moody, textured sound – Dominator Theme teases us with an intro that allows you to almost feel the title screen. Woolly, fuzzy notes abound before kicking off into a really classic-sounding piece that is unmistakable Commodore 64 SID - complete with jaunty riffs, cascading, twinkling notes and possibly the simplest structure/beat on the entire record. It doesn’t diminish it, though - as there have been so many heavy hitters on the album that this more simplistic style is somehow even more nostalgic in how it evokes the system it was initially written for. I didn’t play Dominator, but this feels somehow familiar in how well it captures the era and vibe.
Professional BMX Simulator Main Themes – visceral percussion, a raw riff and some acrobatic lead lines lift off into some squelchy SID gold. It’s a fairly epic main melody, but those milky lead lines and bends make the track for me. Akin to tasteful wailing on a guitar, it’s moreish stuff! Prepare yourself for some great keyboard melodies as well, this is a punchy and addictive track that fits in perfectly after the Dominator Theme and is a ‘high-five’ way to end the third side of the album.
Side D:
Vendetta Intro Theme – This is a track that really sneaks up on you with how good it is. A somewhat restrained affair – at least, in terms of the drums, an instrument that Matt Gray seems to wield as weapons to pulverise your speakers - a more hi-hat-based rhythm and a shuffling beat replace the usually explosive percussion. Layered over this are synth lines that are almost pure cyberpunk in some moments. Huge, swelling sheets of sound and – to my ears – some of the best melodies on the album, in the synth and also ‘palm-muted guitar’ lines here as well as subtler percussion behind the drums. It’s all extremely understated but bleeds quality, and as the track progresses and opens up, it’s sheer gold, as far as I’m concerned – and one of the best on the album. You’ll be getting Amiga vibes here. I could easily have had this extended to an entire side of the record and not given a hoot.
Quedex Loading Theme – A return to the instancy of the template set down by Dominator Theme, this brings back the more upbeat sensibilities of the SID-chip. Pure ‘80s in how the melodies roll into each other, backed by tight, punchy bass. All of this combines to make the Quedex Loading Theme a feel-good ride!
Deliverance Stormlord 2 Title Theme - Big old bass notes and a ditty from outer space lead us in, I really dig the effects used here, they make the lead lines sing. The teasing introduction has the air of a ‘90s floor filler about it, with cymbal washes ahoy. A word of warning – if you turned up the volume to get the most out of the wonderful Vendetta Intro Theme – you might want to pop it back down a notch here, because - when the drums kick in, they. are. not. shy. Some really tasty, airy slide notes hammer the melodies home over a busy hi-hat/snare beat, a great follow-on from the Quedex Loading Theme.
The Street Loading Theme (From Last Ninja 2) - A favourite of mine, a pretty and melodic opening gives way to an even prettier section before a more emotive melody joins in (it’s tasty), and then, and only then - do the drums join in…drums that just make you want to shout, “YES!”. If you aren’t turkey-necking by this point, then you aren’t on my Christmas card list. The melodies hinted towards at the start of the track return in full form. A sampled Chinese flute comes in as the track mellows for a second – without losing any pace – before the drums get back to full tilt, again acting as the rumbling, tireless behemoth under the now-to-be-expected layers riffing over the top. It feels like this music is genetically designed to please me and lift my mood. The end of the track also features a lovely, rolling keyboard run.
Reformation is another quality collection of music from Matt Gray, the way in which the music has been re-recorded with modern technology, and without losing any of the character of the original tunes always gets me. My introduction to Matt Gray’s modern body of work was via the Last Ninja 2 vinyl, which was one of my albums of the year in 2021. Whilst arguably the best tracks from that release are featured here, the rest of the album shines just as brightly, whether it be through the cavernous drums, phat bass or just the absolute grasp of clarity and melody that runs through each track of reformation, there’s not a weak moment, and I really like how the tracks are lengthy and have room to breathe and evolve.
Reformation feels like a greatest hits, more than a collection of songs, you can easily see why the music is still revered today. 
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